We took Philippa Beaton’s theme to heart
in the next collection. Based around Alfred Hitchcock’s The Birds,
Beaton did not set out to re-create Tipi Hedren’s wardrobe. Instead
this self-confessed ‘movie buff’ chose to ‘re-create the uneasy
tension of the quietness of the birds’ in the film. The crows manifested
themselves in her glossy blacks, while the tailoring’s high quality
came from Hedren’s ‘immaculate’ appearance in the film—even when
flustered or chased by Hitchcock’s crows.
A grey woollen suit was the closest literal reinterpretation
of the Edith Head costumes. Other Birds-related ideas emerged,
for instance, a solitary pink feather detail on one top, and winged
sleeves on another. Otherwise, it was about the tension: a red top
matched with a red–grey pinstripe pant, a white hooded top with
an embroidered belt to interrupt the solid colours, lace used to
similar effect that bridged the gap between sombre and ornamentation.
Her final red asymmetric top was characterized by buttons all the
way down the sleeves—hidden buttons, according to Beaton is a hallmark
of her creations. Overall, there was a vintage feel without the
collection seeming dated.
This was a beautiful, classical collection, but
be prepared for surprises for spring–summer. Next time, she told
Lucire, she may move away from industrialization toward arts
and crafts. Her ‘She’s Crafty’ collection idea is still formative
but revolution is the name of the game: her first collection, after
all, was based around a 1950s’ tea party. What ties them together?
The fact that Beaton likes making ‘trusty’ clothes—one always knows
that that philosophy works.
Philippa Beaton did not set
out to re-create Tipi Hedren’s wardrobe. Instead this self-confessed
‘movie buff’ chose to ‘re-create the uneasy tension of the quietness
of the birds’